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From the Library of the 



of Art 

Harvard University 











The Memorial Edition 


of Shakespeare's Plays 



While the text is given in its entirety, the' lines usually omitted in reading aloud, 
or in stage representations, are printed in smaller type. 



Leon. Thou want'st a rough pash and the shoots that I have, 
To be full like me ; yet they say we are 
Almost as like as eggs ; women say so, 
That will say any thing : 

btit were they false 
As o'er-dyed blacks, as wind, as waters, false 
As dice are to be wish'd by one that fixes 
No bourn twixt his and mine, 

yet were it true 

To say this boy were like me. Come, sir page, 

Look on me with your welkin eye : sweet villain ! 

Most dear'st ! my coUop ! Can thy dam ? — may 't be ? 

Affection ! thy intention stabs the centre : 

Thou dost make possible things not so held, 

Communicatest with dreams : — how can this be ? — 

With what 's unreal thou ooactive art, 

And fellow'st nothing : then *tis very credent 

Thou may 'st CO- join with something; and thou dost, 

And that beyond commission, and I find it. 

And that to the infection of my brains 

And hardening of my brows. 


PoL What means Sicilia ? 

Her. He something seems unsettled. 


The Plays, separately. Sixpence each. Complete (in Eight Yolumes), bound in 
Crushed Persian Morocco backs, marbled paper sides, marbled edges, 
One Guinea net. 


Copies may be obtained from The Custodian at the Shakespeare Memorial, 










JOHN MORGAN, 11, High Street- 






The Right Honourable Loed Lkigh 

The Lord Ronald S. Gower, F.S.A. 

Sir Frederick Hamilton, Bart. 

Lady Trevelyan 

Sir Theodore Martin, K.C.B., V.D., LL.D., F.S.A. 

■ He. 

■ Ir> 


I (Ma- 

Miss Mary Anderso: 
dame De >1avarro) 
F. R. Benson 
*R. M. Bird 

E. Marlett Boddy, F.R.C.S, 
Mrs. BuRMAN 

+*\V.G. CoLBOURNE (Alderman) 
'■James Cox 

F. W. Clarke. B.A. 

The Rev. F. S. de Courcv 
Laffan, M.A. 
*Mrs. Flower 
*Edgar Flower 

Arthur S. Flower, F.S.A. 
■ *ARcmBALD D. Flower, C.C. 

Capt. O. S. Flower 
■^Algernon Graves, F.S.A. 
+R. L. Greene (Alderman) 
-D. S. Gregg 
-fR. Hawkes (Alderman) 


Major Tom Hutchings 

^"Wm. Hutchings, J. P. 
J. Jefferson 

+The Mayor of Stratford- 
upon-Avon (Councillor G. 

M. BiRDl. 

*JoHN Morgan 
*J. J. Nason, M.B. 

T. P. Potts 
*T. Edgar Pemberton 
+A. E. Park (Alderman) 
+W. Pearce (Alderman) 

Miss Ada Rehan 

Mrs. Rylands 

John Slatter 
tj. Smallwood (Alderman) 

Miss Ellen Terry 

Frederick William Wigan 

Those marked (') are Members of the Council. 
Those marked (t) are ex-officio Governors. 

Chairman of the Council: Edgar Flower, Esq. 

Secretary: Charles Lowndes. 

Librarian: W. S. Brassington, F.S.A. 

Custodian: C. Rainbow. 

Committee of Management 

Chairman : Edgar Flower, Esq., J. P. 

Mrs. Flower (Avonbank) 

Archibald D. Flower, Esq., C.C. 

Alderman W. G. Colbourne 

William Hutchings, Esq., J. P. 

J. J. Nason, Esq., M.B., J. P. 

T. Edgar Pemberton, Esq. 

Secretary : Charles Lowndes 

Librarian: W. Salt Brassington, F.S.A. 


Visitors to the Shakespeare Memorial usually 
first inspect the Library (on the ground floor to the 
left of entrance), then pass up the grand staircase to 
the Theatre, ascend the Tower, view the Picture 
Gallery and descend to the Hall again, pass into the 
Garden to the Gower Monument of Shakespeare, 
and return through the Hall to the principal entrance. 

The dimensions of the Pictures given in this 
Catalogue are sight measurements. 

The Pictures in the Hall and Landing are first 
described (Nos. 90 to 104) pp. i to 26. 

The pictures in the Gallery follow (Nos. i to 119) 
pp. 29 to 97. 

The public are admitted to view the buildings, 
including the Theatre and Picture Gallery at a 
charge of 6d. each. Parties exceeding 20 in number 
are admitted by arrangement. 

Season Tickets can be obtained for i/- each ; 
these admit readers to the Library. 



So long ago as the year 1820 the idea of building a Memorial 
Theatre in Stratford as a tribute to the memory of Shakespeare 
occurred to Charles Mathews, the comedian. 

There is in the Memorial Library a play bill for December 
20th, 1820, whereon is stated that: — ** Mr. Mathews most 
respectfully informs the public that he will be found at home 
at the Town Hall, Stratford-upon-Avon, that evening, when 
he will have the honour of presenting to them his last new 
entertainment called * Country Cousins and the Sights of 
London.'" At the foot of the bill appears the following note : 
** At the conclusion of the evening's entertainment Mr. Mathews 
will have the honour of submitting to the audience the nature 
of some proposals that have been suggested for the purpose of 
erecting, in the form of a Theatre in Stratford, a National 
Monument and Mausoleum to the immortal memory of 

Although at the time the suggestion was well received 
nothing was then done to carry out Mr. Mathews' plan, and 
the idea lay dormant until 1864, when the Tercentenary ot 
Shakespeare's birth was celebrated at Stratford. Eleven years 
later the Memorial Fund was started by Mr. Charles E. Flower, 
with a handsome donation and the gift of a site.'^ 

The site, then to all appearance an unpromising one, upon 
the banks of the Avon had been used for docks and wharves, 
its selection, however, has since been fully justified. 

The original proposal at the Tercentenary Celebration 
was to erect a statue ; but it was felt that a theatre, wherein 

**In 1820 there was no permanent theatre in Stratford, but a temporary 
one, under the management of a lady, had been open a few years before that 
date. In 1821 a new theatre was equipped in More Town's End, a street 
now known as Greenhill Street. The first permanent theatre in Stratford, 
however, was built half-way down Chapel Lane, upon part of New Phice 
Garden, and opened with a performance of *' As You Like It," December 
i2th, 1827. The doors of that building were closed for the last time after 
a performance of*' Hamlet," on April 30th, 1872. For full particulars see 
Past Dramatic Performances in Stratford-upon-Avon, by W. Hutchings, 
Price 6d. 


Shakespeare's plays could be adequately represented would be 
a more fitting tribute to his genius. 

On April 23rd, 1877, the t4iree hundred and twelfth 
anniversary of the poet's birth, the first stone of the Memorial 
Building was laid by the Rt. Hon. Lord Leigh, with full 
Masonic ceremonial. Contributions to the building and 
endowment fund were given liberally by English and American 
Shakespeareans, but it was principally to the energy and 
enthusiasm of Mr. Flower that the scheme owed its success ; 
for this reason as well as for his liberality he is justly con- 
sidered to be the founder of the Memorial. A portrait of 
Mr. Flower (painted by Phil. R. Morris, A.R.A.), presented to 
him by his friends and fellow-townsmen, hangs in the Library- 
Reading Room.. 

The building, designed by Mr. W. F. Unsworth in the 
Gothic style, comprises a Theatre, Library, Picture Gallery, 
and Central Tower, standing in a beautiful garden beside the 
river Avon, which here flows quietly in a broad stream towards 
the church where Shakespeare lies buried. Every detail of the 
building being carefully considered with a view to the purpose 
for which it is intended, as well as to artistic effect, the work 
is substantial and good throughout, with nothing sham or 
inharmonious ; the staircase, constructed of Caen stone and 
Purbeck marble, is especially beautiful. The staiaed glass 
windows represent "The Seven Ages of Man" ('* As You 
Like It," Act IL, Scene 8, 139) ; Queen Elizabeth ; and 
Queen Victoria. 

The Theatre, 

With accommodation for nearly nine hundred persons, is open 
occasionally during the year for dramatic performances. 

The act-drop, painted by W. R. Beverly, represents " The 
Globe Theatre," and the " Bear Garden" in South wark, with 
a state procession of Queen Elizabeth in the foreground. 

The Memorial Theatre was opened on April 23rd, 1879, 
with, a performance of ** Much Ado About Nothing," in which 
Lady Theodore Martin (Helen Faucit) and the late Mr. Barry 
Sullivan took part, while Miss Kate Field delivered a dedicatory 
address, written by Dr. Westland Marston. Shakespeare's 
birthday (the* 23rd April) has since been celebrated annually by 
the revival of one of his plays, during a period of Shakespearean 

Upon the exterior of the Library are three terra-cotta 
basso-relievo panels representing respectively scenes from 

IT block liul by Mr. E. Far. SIral/or. 


**As You Like It," ** King John," and *' Hamlet"; the first 
and third were given by Miss Mary Anderson, the second by 
the architect, Mr. W. F. Unsworth. 

The Shakespeare Monument. 

A fine Group of Bronze Statuary, presented by the 
author. The Lord Ronald Sutherland Gower, to Stratford- 
upon-Avon, stands in the garden on the south side of the 
theatre. It represents Shakespeare and four of his principal 
characters, Lady Macbeth, Hamlet, Prince Hal, and Sir John 
Falstaif, personif>'ing tragedy, philosophy, history and comedy 
respectively. The sculptor spent altogether twelve years upon 
the work ; the bronzes were cast in Paris, and the monument 
was unveiled on October loth, 1888. 

The Library 

Of Shakespearean and Dramatic Literature is situated upon 
the ground floor fronting the road ; it contains copies of the 
first four folio editions of Shakespeare's Plays, published in 
' 1623, 1632, 1664, and 1685; some rare quartos, and other 
earJy printed books, also copies of most of the collective 
editions of the plays published in Great Britain and America. 
Through the generosity of friends many new and valuable 
books have from time to time been presented, and are always 
thankfully received by the Committee. 

Anyone wishing to consult the books may do so on 
application to the Librarian. 

The Committee desire that facilities for study should be 
given to students. 

The Picture Galleries 

Situated above the Library contain many originals from the 
Boydell Shakespeare Gallery, formerly in Pall Mall ; portraits 
of Shakespeare and of famous actors and actresses ; subject- 
pictures from the plays, also some rare engravings and a bust 
of the poet. 

Donations of Books and Pictures are gratefully received 
by the Committee, who desire to make the collections as 
complete and interesting as possible. 

Contributions should be sent to — 

The Librarian, 

Siialcespeare Memorial, 

Stratford' upon-A von. 

» , 



Anderson (Miss) 
Bancroft (Lady) 

Booth (E.) 

Booth (Miss S.) 
Byron (Lord) . . 

Cherry (A) 

Coleridge (S. T.) 
Conway (W. A.) 

Cromwell (O.) 

Farren (W.) 

Flower (C. E.) 

Garrick (D.) 60, 62, 

Garrick (Mrs.) 

Gower (The Lord Ronald) . . 
Graves (H.) 
Gwynn . . 
Hawley (F.) 
Kean (Mrs. C.) 
.Kemble (C.) 

Kemble (R.) 

Kemble TSarah) see Siddons. . 

Kemble (Fanny) 

Kemble (J. P.) . . 53, 

Phelps (S.) 

Pope (A.) 

Rehan (Miss) . . 
Richard II. .. 

Scott (Sir W.): 

Shakespeare (W.) 27 to 35, 100, 
Shakespeare (Judith) . . 
Shelley (P. B.) 
Siddons (Mrs. S.) 
Southampton (H. Earl of j . . 
Stephens (W. H.) . . 
Stuart (Prince Charles) 
Stirling: (Mrs.) . . 

Toole (J. L.) 

Tree (Ellen) . . 
Wallack (Mr.) 
York (Duke of) 






































, 26 












Bouchet (L. A. G.) 


Brooks (T.) . . 




Brown (M.) .. 


Cattermole (C ) 

.. 81 

Cause (J.) 

20, 102 

Challon (J. J.).. 


Clothier (R.) . . 

. . 96 

Crowley |N. J.) 

37» 58 

Dell (E. E.) . . 

•• 54 

Dujardin (J.) .. 

. . 92 

Etty (W.) 

. . 108 

Fradelle (H. J.) 

• • 44 

Fufeeli(H.) .. 

: 8, 10, 12, 22 

Gainsborough . . 

.. 117 

Gilbert (Sir J.) 

.. 21 

Greuze (J. B.) 


Hall (G. H.) . . 


Harlow (G. H.) 

46, 97 

Herrick (W. S.) 

.. 45 

Hobday (W.) .. 

. . 40 

Hogarth (W.) 


Hoppner, J. . . 


Kaufmann (A) 

. . loa 

Kirk (T.) 


Lawrence (Sir T.) 


Lay(0, L) .. 


Lebrun (L. J.).. 

.. 93 

Lely (Sir P.) .. 


Loutherbourg (P. J. d 

e) .. .. 57 

Maclise(D.) .. 


Martin (J ) 


Merritt (Anna Lea) . 

. . 47 

Millais (Sir J.) 


Nast (T.) 


Northcote (J.).. 


Opie, (J.) 


Phillips (H. W.) 
Pine (R.) 

. . 50 


Robertson (T. F.) 


Reynolds (Sir J.) 

60, 64 

Richards (F.) . . 


Romney (G.) ,. 

•• 15,39. 116 

Somer (Van) . . 

... . . 49. 

Smirke (R.) 2, 3, 4, 5 

. 16, 17, 18, 51, 52, 

98 99 

Stothard (T.) . . 


Tate (R.) 

. . 26 

Vandyck (Sir A.) 

. . Ill 

West (Benjamin) 


Wheatley (F.) . , 


Wyatt(H.) .. 

107, iia 

Zoflfany(J.) .. 


Zuccarelli (F.) 


Miss Elles TEHBY. 

Photographs and Engravings. 

In the entrance hall are seven large photographs and 
three proof impressions of the engraving, by R. Josey, of 
Gainsborough's portrait of David Garrick. The plate is now 
destroyed, but copies of the engraving are presented by the 
Council to donors of three guineas and upwards. The original 
painting is the property of the Corporation of Stratford, and 
hangs in the Town Hall. 

Engraving— The River Avon and Holy Trinity Church, 
from the original painting by John Constable (1840). 

Engraving— Shakespeare before Sir Thomas Lucy, from 
the painting by T. Brooks, R.A., engraved by F. Hunter (1861). 

A set of coloured prints, representing The Seven Ages of 
Man, are arranged between the windows of the staircase. 
These engravings are by W. Bromley from designs by 
T. Stothard. Presented by E. Marlttt Boddy, Esq., F.R.C.S. 

Upon the walls of the corridor are exhibited engravings 
from the Boydell Portfolio, illustrating scenes from Shaker 
speare's Plays. Many of these choice prints are the work of 
famous English engravers of the i8th century. 

There is also a proof on satin of Mongie's etching of 
Meissonnier's Clown signed by both artists. 

Oil Paintings. 


Portrait of a Gentleman of the time of Queen Elizabeth. 

Lent by Mrs. Page. 

Dimensions, 3ft. i|in. by 2ft. loin. ; on canvas, 


S' i The Marriage of Richard, Duke of York (second son ' 
OF Edward IV.) and the Lady Ann Mowbrav, 1477. 

Presented by Hugh Owen, Esq., F.S.A. 
The boy, who is one of the characters in Shakespeare's 
Play, " King Richard III,," was murdered in the Tower in 1483. 
The little lady was subject to great indignities, but dying on 
January i6th, 1480-1, was buried in Westminster Abbey. She 
lived for a time at Sutton Coldfield, Warwickshire. 

Dimensions, ift. 6Jin. by ift. 3jin. ; on board. 



Shakespeare in his Studv. 
Presented by Sir George Trevelyan, Bart. 
The scene depicted on this canvas is supposed to represent 
the Poet's study in his house in London, Burbage, the 
actor, is rehearsing the part of " Master Ford " in the " Merry- 
Wives of Windsor." 

Dimensions, 3ft. 4in. by aft. 4in. ; on canvas. 

93 L- J- LEBEUN. 

Hamlet and His Mother. 
Lent bv Mrs. F. Bull. 
HAMLET. A bloody deed I. almost as bad, good mother. 

As kilt a king and marry with hts brother, 
QUEEN. Aa' kill a king I 
HAMLET. Ay lady, 'twnB my word. 

{Lift! up tht arras and dUcovtrt Polotiius.) 

Hamlil. AciUI. Sa«t4. 18.' 
In contrast to the works of some of the great masters of 
the English historic school of painting, this picture, by a 
modern French artist, shows the difference between the old 
and new methods of depicting scenes from Shakespeare's 
Plays. In expression and feeling, as in composition, execu- 
tion, treatment, and drawing, the picture is a good example of 
the class to which it belongs. 

Dimensions, 5ft. 4in, by 4ft. 3in. ; on canvaa. 
Fof sale, price ;^5O0. 


Miss Sally Booth as "Juliet." 

Presented by Edgar Flower, Esq. 

yuliet's Chamber. Eiittr Juliil and Nurse. 

yVLlET. Ay. thoae attires are best; but jjentle nurse, 

I pray thee, leave me to myself to-night; 

For I have need of many orisons. 

Romio and yutitl. Act IV. Scent 3. 
Sarah Booth, usually called " Sally Booth," a descendant 
of the famous Barton Booth (1681-1733), was born in Birming- 
ham in 1793, and when quite a girl obtained an engagement 
at the Manchester Theatre, then under the management of 
Macready. After a time Sarah Booth appeared at Covent 
Garden Theatre, 23rd November, 1810. It was thought she 


might become a rival to Mrs. Siddons, a delusion . soon 
dispelled, though the young actress gained considerable 
reputation. Miss Booth was noted for her politeness and her 
strict observance'of religious duties ; when on tour she made 
a point of regular attendance at church. Though perhaps 
seen to better advantage in " Pnscilla Tomboy," Sally Booth's 
"Juliet" was a pretty girlish performance. Her " Cordelia " 
was not so highly praised. This once famous actress visited 
Stratford repeatedly about the year 1823. She died 1867, 
having long quitted the stage. 

Dimensions, 7ft. 8fin. by 4ft. 8|in. ; on canvas. 

95 J. J. CHALON, E.A. 1778-1854. 

Macbeth and the Witches. 

Presented by H. Graves, Esq. 

A htalk near Forres. {Tkmi/lir.j Enter three wilckes, and presently 
Macbeth and Bnnquo. 

MACBETH. So foul and fair a day I have not seen. 
BANQUOf How far is't called to Forres ? What are these 
So wither'd and so wild in their attire, 
That look not like the inhabitants o' the earth, 
And yet are on't ? Live you 7 or are you ought 
That man may question ? 

Macbeth. Act I. Scene 3. 38. 
John James Chalon was born at Geneva in 1778. He was descended 
from an old French family exiled aflei the revocation of the Edict of 
Nantes. When quite young he came to England, and became a stutient 
at the Academy in 1796. He was elected an Associate in 1827, and an 
Academician in 1841. He died at Kensington in 1S54. Cbalon excelled 
both as a landscape and figure painter. Many of his landscapes are 
faithful transcripts of the mountain and lake scenery of Switzerland. One 
of his most famous pictures. " Napoleon on board [he Bellrrophon," 
painted in i8i5, hangs in Ihe Gallery at Greenwich Hospital, 

The painting of " Macbeth and the Witches " is worthy 
of careful study. 

Dimensions, 6ft. lotin. by 4ft. lojin. ; on canvas. 



J. L, Toole and W. H. Stephens in " The Cri 
THE Hearth." 
\ Presented by Elliot Galer, Esq. 
Dimensions, 4ft. yjin. by 3ft. 3in. ; on canva 

Although this picture is Of no value as a likeness, it is of' 
considerable inferest by reason of the talent- of the lady by 
whom it was painted. The portrait possibly more closely 
resembles King James I. than the Poet whose features it was 


intended to represent. The medallion below the portrait is a 
graceful composition. 

Maria Anna Angelica Catharina Kaufmann was born in 1741 at Coi're, 
in the Grisons, where her father^ an artist, was then painting. Under her 
father's instruction Angelica attained to great prjoficiency in music, 
languages, and painting. Having visited Milan, Florence, Rome, and 
Venice, she came to England in 1765 with Lady Wentworth ; her 
talents being recognised in this country she was elected one of the first 
Royal Academicians. She was twice married, and died 1807. 

Dimensions, 3ft. 4iin. by 2ft. iijin. ; on canvas. 


Portrait of Lady Bancroft 
as Peg Woffington. 
Presented by Herself. 


JOHN CAUSE, 1779-1862. 


Lent by Miss Wright, 



THOMAS NAST, Bom 1840. 
The Immortal Light of Genius. 

Tragedy and Comedy offering laurels to the Immortal 
Light of Genius at Shakespeare's Birthplace, Stratford-on- 

Presented by Mrs. Nast. 


Macbeth and the Witches. 

Macbeth. Act I. Scene 3. 

Lent by Alderman W. G. Colbourne. 






This picture is lent by the artist, and a committee has 
been formed to purchase and present it to the Gallery. 

2 ROBERT SMIRKE, R.A., 1752-1845. 

Froth and Pompey brought before Angelo. 
Presented by Henry Graves^ Esq, 

A Hall in Attgelo*s House. Enter Elbow and Officers^ 
with Froth and Pompey. 

ELBOW. If it please your honour, I am the poor duke's con- 
stable, and my name is Elbow : I do lean upon 
justice, sir; and do bring in here before your 
good honour two notorious benefactcs. . 

Measure for Measure. Act 11. Scene i. 45. 

This picture, painted for the Boydell Shakespeare Gallery, 
Pall Mall, was engraved by G. T. Ryder and C. G. Playter for 
J. and J. Boydell in 1798. It is the companion picture to No. 5. 

Robert Smirke was born at Wigton in 1752, and at the age of nineteen 
became a student at the Royal Academy. He was elected an Associate of 
the Academy in 1792, and in the same year an Academician. In his youth 
he is said to have painted crests on coach panels. He certainly painted 
many small pictures for the engravers to illustrate plays, poems, and novels ; 
many of these compositions he painted in monochrome (No. 38 in the 
Shakespeare Memorial Gallery is an example of Smirke's monochrome 
work.) His favourite subjects were from the Bible, English history, 
Don Quixote, and Shakespeare. He was employed by Alderman Boydell 
to paint pictures for the Shakespeare Gallery in Pall Mall, to serve as 
illustrations to the Boydell Edition of these Plays ; several of these interest- 
ing examples of his manner are now deposited at the Shakespeare Memorial. 
His picffures are humorous, and generally well drawn, though they have 
decided mannerisms. Smirke continued to practise his art till late in life, 
making the designs for the bas-reliefs in front of the Oxford and Cambridge 
Club, of which his sons were the architects. He died in London in 1845, 
in his ninety-third year. 

See also Nos. 3, 4, 5, 16, 17, 18, 51, 52, 97, examples by this 


Dimensions, 7ft. lin. by 5ft. im. ; on canvas. 








Anne Page, Slender, and Simple. 
Presented by Miss A, Bonham Carter. 

Wiirt please your worship to come In, sir ? 

No, I thank you, forsooth, heartily; I am ytery well. 

The dinner attends you, sir. 

Merry Wives of Windsor. Act I. Scene i . 

This and the companion picture (No. 4) were painted 
for the Shakespeare Gallery, but Alderman Boydell being 
unable to complete the purchase, they were sold by the artist 
to William Smith, M.P., of Norwich, whose grand-daughter 
Miss Alice Bonham Carter, presented them to the Memorial. 

Dimensions, 7ft. lin. by 5ft. lin. ; on canvas. 


Shylock Reproving Jessica. 

Presented by Miss A. Bonham Carter. 

SHYLOCK. By Jacob's staff, I swear, ' 

I have no mind of feasting forth to-night ; 
But I will go. Go you before me sirrah ; 
Say I will come. 

LAUNCELOT. I will go before, sir. Mistress, look out at 

window, for all this; 
There will come a Christian by, 
Will be worth a Jewess' eye. {Exit LaunoeJot) 

The Merchant of Venice. Act II. Scene 5. 34. 

The companion picture to No. 3 ; engraved by L. P. 
Simon, and published by J. & J. Bo}dell (1795). 

Dimensions, 7ft. lin. by 5ft. lin.; on canvas. 


Conrade and Borachio brought before Dogberry and 

THE Watch. 

Presented by Elliot Galer, Esq. 

DOGBERRY. O villain I thou wilt be condemned into ever- 
lasting redemption for tl^.is. 

Much Ado about Nothing. Act IV. Scene 2. 56. 

This picture, painted for the Shakespeare Gallery in Pall 
Mall, was engraved by J. Ogborne for J. & J. Boydell in 1791, 
It is the companion picture to No. 2. 

Dimensions, 7ft. lin. by 5ft. lin. ; on canvas. 



Presented by Edgar Flower, Esq. 

JOHN OPIE, B.A., 1761-1807. 

Elizabeth Woodvillb, Queen of Edward IV. and the 
Young Duke of York {afterwards murdered in the 

Lent by A. Graves, Esq., F.S.A. 
■QUEEN. Come, come, my boy r we will to sanctuary. 
ARCHBISHOP. My gracious lady, go ; 


John Opie, the son of a carpenter, was born near Truro in May. 1761. 
Having, when quite young, given indications of genius, he wag taken to 
London and introduced 10 Sir Joahua Reynolds. He became an art 
Itudenl, and an exhibitor at the Royal Academy in 17S2. In 17S7 he was 
made a member of the Academy, and in 1803 Proleasor of Painting. He 
died in the prime of life April gth, 1807. The picture of the little Duke of 
Vork is a masterpiece, the hgurea being well painted, and the whole 
composition good. 

Dimensions, 7ft. Sin. by 5ft. 6in. ; on canvas. 

« HENBY FUSBLI. 'E.A., 1741-1825. 

The Ghost of Julius C^sar AppEARrNG to Brutus. 
Presented by Dr. Lawson Tail, 
Ealir The Ghost 0/ Casar. 
BRUTUS. Art thou any thing? 

Art thou some god, some angel, or some devil. 
That mak'st my blood cold and my hair to stare ? 
Speak to me what thou art. 
GHOST. Thy e/il spirit, Brutus. 

yulius Casar. Act IV. Sctnt 3. 274, 

Though almost a monochrome, and probably intended 
simply for the engraver, there is great power of imagination 
displayed in this painting. 

Dimensions, 2ft. iijin, by 2fl. 3^in. ; on canvas. 


9 ? BENJAMIN WEST, P.B.A., 1738-1820. 

King Lear. 
Bought by the Memorial Association. 

LEAR. Blow, winds, and crack your cheeks ! rage ! blow I 
You cataracts and hurricanoes spout 
Till youhavedrenchedoursteeples,drown'd the cocks I 

King Lear. Act III. Scene 2. 
Dimensions, 2ft. 4}in. by ift. ii^in.; on canvas. 

-jQ HENRY FUSEIil, R.A., 1741-1825. 

The Witches Appearing to Macbeth. 

Macbeth. Act I. Scene 3. 

Presented by E. Marlett Boddy^ M.R.C.S. 

This picture is an excellent example of Fuseli's style. The 
artist chose the same subject for one of his illustrations to the 
Boydell Shakespeare, but this painting was not included 
among those selected for engraving. 

Dimensions, 34^^ inches by 26f inches ; on canvas. 

11 PEANCESCO ZUCCABELLI, c 1702-1788. 

The Witches appearing to Macbeth. 

Presented by Elliot Galer, Esq, 

THIRD WITCH. All hail, Macbeth I that shall be 

king hereafter. 

Macbeth. Act I. " Scene 3. 47. 

Francesco Zuccarelli. an Italian, born at Pitigliano, in Tuscany, 
about 1702, studied at Florence and Rome. Having finished his studies 
he removed to Venice, whence, upon the advice of the English consul, he 
visited this country twice. The second and longer visit extended from 
1752 to 1773. He became a foundation member of the Royal Academy, 
and amassed an ample fortune. Returning to Italy and settling at 
Florence he soon afterwards lost the whole of his savings, owing to the 
unsettled state of the country, and again in his old age became dependent 
upon his art for a living. He died in Florence in 1788. Zuccarelli's 
earlier works were chiefly historical pictures, but he abandoned these for 
decorative landscapes, with small figures. A collection of Zuccarelli's 
paintings was formed at Windsor Castle, and there are many examples of 
his art in England. 

Dimensions, 3ft. by 2ft. 4iin. ; on canvas. 




The Arrest of Cambridge, Scroop, and Grey. 
Presented by Elliot Galer, Esq. 

KING HENRY. Why, how now, gentlemen I 

What see you in those papers that you lose 
So much complexion ? Look ye, how they 

Their cheeks are paper. Why, what read you 

KiigHmryV. Act it. Scifu 2. Line yi. 

An engraving of this painting was included in the 
Boydeil collection in 1798 ; the engraver being Robert Thew. 

Dimensions, 24 inches by tSJ inches; on panel. 

13 FEANCIS "WHEATIjBT, R.A., 1747-1801. 

Perdita, Florizel, and Polixenes. 
Presented by Elliot Galer, Esq. 

PERDITA. You're welcome, sir. 

Give me those flowers there, Dorcas. Reverend 

For you there's rosemary and rue ; these keep 
Seeming and savour all the winter long : 
Grace and remembrance be to you both, 
And welcome to our shearing I 

Tkt Winter's Talt. Aa IV. Scim 3. Line yi. 

Francis Wheat! ey was born in London in 1747, and siudied 
art in that city cliiefly under llie tutoiship of Mortimer, and earned 
considerable reputalion as a painter of rural and domestic subjects, 
many ol which were engraved. 

He painted twelve pictures for Alderman Boydeil to illustrate 
Shakespeare's plays, and it is from these paintings that his merit as a 
-composer and a colourist may best be estimated. 

He was elected a Royal Academician in 1791, and died in iSoi. 

Dimensions, 24 inches by iSJ inches ; on panel. 




THOMAS STOTHARD, E.A., 1755^834. 

^Othello's Return. 
Presented by Charles E. Flower^ Esq. 

A Seaport in Cyprus. An open place near the Quay. 

Enter Othello and Attendants. 

OTHELLO. O my fair warrior ! 

DESDEMONA. My dear Othello I 

OTHELLO. It gives me wonder great as my content 

To see you here before me. O my soul's joy I 

If after eyery tempest come such calms, 

May the winds blow till they have waken'd death !? 

Othello. Act II. Scene I. 184. 

Thomas Stothard, the son of a Yorkshire man, was born in Longacre, 
London, 17th August, 1755. In 1770, his father being dead, he "was 
apprenticed by his mother to a designer of brocaded silks, but scon turned 
his attention to making illustrations for books, in which branch of art he 
excelled. He was elected an Associate of the Academy in 1791, and a 
member in 1804. He died in London 27th April, 1834. The painting of 
"Oihello'f* Return" was executed by Stothard foi Alderman BoydelL 
engraved by T. Rvder. and published in 1799. Stothard also designed a. 
beautiful series of the *• Seven Ages," which W. Bromley engraved. 

Dimensions, 6ft. iiin. by 5ft. 5in. ; on canvas. 

GEORGE EOMNEY, 1734-1802. 


Present fed by Charles E. Flower, Esq. 

A Wood near Athens. Enter Titania with her Train. 

TITANIA. Come, now a roundel and a fairy song : 
Then, for the third of a minute, hence ; 
Some to kill cankers in the musk-rose buds, 
Some war with rere-mice for their leathern wings, 
To make my small elves coats. 

A Midsummer Nighfs Dream. Act II. Scene 3. i- 

The face of the Fairy Queen is said to have been painted 
by Romney as a portrait of Emma Lyon, the famous Lady 
Hamilton, second wife of Sir William Hamilton, British. 
Ambassador at Naples, and the friend of Lord Nelson. 
Titania is represented reclining ; to the right a band of dusky 
musicians beguile the queen with music ; in the background, 
two little fairies ** war with rere-mice for their leathern wings.*' 
This picture was formerly in the Beckford collection. 

George Romney was born in Lancashire, December 15th, 1734. His 
father, a cabinet-maker, brought up the lad to that business, but, at the 
age of nineteen, George showed so great ability for drawing that his father 


placed htm with a portrait painter, named Steele, then living at KendaL 
In 1762 he removed 10 London : his talents were quickly recognised, and 
he rose rapidly to Came and Tortune, Tanking second to his famous contem- 
poraries Reynolds and Gainsborough. He visited Italy in 1773, and 
returned to London in 1775. Romney's wife and family were not allowed 
to share his prosperity, but remained at Kendal, receiving only two visita^ 
from the painter during thirty-seven years. In later life, however, ht ■ 
returned lo Kendal, where he died November T5lh, iSot. 

Dimensions, 4ft. atin, by 3ft. 8Jin. ; on canvas. 


An Allegorical Subject in Monochrome. 
Presented by Andrew MacCullum, Esq. 
When Smirke intended a picture to be engraved, he- 
sometimes painted in monochrome ; this graceful composition 
is a good example of the artist's method. 

Dimensions, ift. 3in. diameter; circular; on canvas. 

17 ROBERT SMIRKE, E.A., 1752-184=5, 

Anne Page, Slender, and Simple. 

Merry Wivis of Wtndior. Act i. Seme i. 
Presented by Elliot Galer, Esq. 

This and the companion picture appear to have beeti 
painted by Robert Smirke, but were not engraved by Boydell. 
Smirke treated the subjects quite differently in the pictures he 
painted for the Boydell Shakespeare Gallery. 

Dimensions, i6^ inches by 13I inches ; on canvas. 

13 ROBERT SMIRKE, R:A., 1752-1845. 

Mrs. Page, Quickly, Sir Hugh Evans, and William. 
Presented by Elliot Galer, Esq. 
EVANS. Come, hither, William, hold up your head ; come. 

MRS. PAGE. Come on, sirrah ; hold up your head; 
your master, be not afraid. 
The Merry Wives of Windsor. Act IV. Scene i. Li. 
Dimensions, 16^ inches by 13J inches ; on canvas. 




Sir John Gilbert, one of the greatest illustrators of Shake- 
speare's Plays, is represented at StiUtford-upon-Avon by this 
picture only. It is much to be desired that more examples of 
his art be placed in the Gallery. Sir John Gilbert, the son of 
a retired captain, was bom in 1817. After leaving school he 
entered the office of an estate agent at London, but, having 
no taste for figures, he persuaded his parents to allow him tO' 
study drawing. In 1836 he exhibited his first picture in the 
Royal Academy. He contributed to the early numbers of 
Punch and The Illttslraled London News, Besides painting 
about 400 pictures, he designed illustrations for many 
periodicals and some of the best English classics, especially 
Shakespeare, whose plays he thoroughly appreciated. Sir 
John died in 1897. 

Dimensions, 2ft. loin. by ift. 7in. ; on a panel. 

HENRY PUSELI, B.A., 1741-1825. 
The Witches appearing to Macbeth. 
Presented by Henry Graves, Esq. 
BANQVO. You seem to understand me, 

By each at once her- choppy finger laying 
Upon her skinny lips ; you should be women, 
And yet your beards forbid me to interpret 
That you are so. 

Macbeth. Act I. Semt 3. 39. 
Henrich Fussly, better known by his English name, Henry Fuseli, was 
born at Zurich, 7th February, 1741. In 1780, having come to England for 
a second time and changed his name to Fuseli, he entered into an arrange- 
ment with Alderman Boydell for illustrating Shakespeare's Flays, painting 
eight large pictures for the Shakespeare Gallery. He died at Putney, 
April leth, 1S25. Fuseli belonged to a mystic school, and hia imagination 
outran his technical ability ; some of his interpretations of Shakespeare 
are powerful, though wanting ihe charm of colour and grace of drawing - 
which characterise the works of his great contemporaries. 

Dimensions, aft. ii^in. by 2ft. jjin. ; on canvas. 

23 JAMES NOETHCOTE, E.A.. 1746-1831. 
Hubert and Prince Arthur. 
Presented by EHiol Galer. 
ARTHUR. O save me, Hubert, save me ! my eyes are out 
Even with the fierce look o( these bloody men. 

Kirig:yohn. Act IV. Seine i. 56, 

James Northcote, like several early Academicians, spent the first part 

of his life in business. He was twenty-five years of age when he left 

Plymouth, his native town, where he had assisted his father in the trade 

of watchmaking. Journeying to London he there found a friend. Sir 



Joshua Reynolds, also a Devonshire man, under whose tuition he studied 
painting. He joined the ban J. of artists working for Alderman Boydell, 
and painted several pictures lor the Shakespeare Gallery, to illustrate 
•' King John," " Richard II.," First part of " Henry VI.," Third part of 
" Henry VI.," *♦ Richard III." (three pictures), and " Romeo and Juliet." 
He died in his eighty-sixth year (183 1). His most important works are 
the "Princes in the Tower" and "Hubert and Arthur;" in this latter 
picture, now in the Shakespeare Memorial Gallery, the training of 
Reynolds is manifest, but there is also a strength of feeling peculiar to 
Northcote, and it is evident that he profited by his studies in Italy. 

The picture bears the artist's signature, " James. 
Northcote, pinxit 1789," written over the arch in the upper 
part of the canvas to the left. It was engraved by R; Thevi^, 
and published in 1798. 

Dimensions, 8ft. 4in. by 5ft, nin. ; on canvas. 

Portrait of King Richard II. 
Presented by J. R. Furness^ Esq, 

This ancient portrait was included in the Earl of 
Shrewsbury's collection at Alton Towers, and sold at the 
great sale of that collection. Afterwards it was exhibited at 
the rooms of the Royal Cambrian Academy, Plas Mawr, 
Conway, and was presented to the Memorial Gallery by 
Mr. Furness. 

A somewhat similar portrait of Richard II. may be seen 
at the National Portrait Gallery, London. 

Dimensions, 18} inches by 16 inches. 

MATHEE BBOWN, c 1760-1831. 

Romeo and Juliet. 
Presented by A. Macmillan, Esq. 

Scene : Verona. Friar Laurence* s Cell. 
Enter Friar Lavrence and Romeo, 

FRIAR, So smile the heavens upon this holy act, 

That after hours with sorrow chicle us not ! 

Romeo and yuliet. Act II. Scene 6. 

Mather Brown, by birth an American, came to England when quite 
young, and studied with his fellow-countryman West. He fh-st exhibited 
a picture in the Royal Academy in 1782, and obtained some celebrity as a 
portrait painter. He also painted historical subjects, including a series of 
scenes illustrating the war in India with Tippoo Saib, and was employed 
by Alderman Boydell to paint some pictures for the Shakespeare Gallery 
in Pall Mall. He died in London in 1831. 

Dimensions, ift. lojin. by ift. 4in. ; on canvas. 





Mrs. Siddons as "The Tragic Muse." 

Presented by the Artist. 

This is a copy (made 1883) of the celebrated picture by 
Sir Joshua Reynolds. The original was bequeathed (1868) by 
Mrs. Siddons' youngest sister, Cecilia, Mrs. George Combe, 
to Mr. R. Tate, and this copy was made while the original 
was in his possession, Mrs. Tate is a great-grand-daughter of 
Mrs. Siddons. 

Sarah Kemble, the greatest English tragic actress, was bom St 
Brecon in 1755. Her father, the elder Kemble, who was manager of an 
itinerant company, inlroduced her upon the st^e when quite a child. At 
the age of seventeen she resided with Mrs. Greathead at Guy's ClifT, 
Warwick. In 1773 Sarah Kemble married Mr. Siddons, a young actor, 
with whom she returned to the stage, and qaickly won for herself a leading 
position, until linBlly she was recognised as the Queen of Tragedy. Her 
principal parts were Lady Macbeth, Constance in " King John," and 
Queen Catherine in "Henry VIII." Mrs. Siddons died in London (rSaO 
and was buried in Paddington Church. There are several portraits of this 
great actress at the Memorial, as well as personal relics ; the embroidered 
slippers worn by her during he'r last performance of Lady Macbeth are 
preserved in the Library. According to tradition Mrs. Siddons once 
played in Stratford, in a barn, in Guild Street, now a stone-yard, but then 
-occasionally used as a theatre. 

Dimensions, 4ft. lin. by 3ft. 3in. 

Portraits of Shakespeare. 

The likeness of "The Maker of our stately English 
speech" has come down to posterity in many forms; there 
are, however, certain easily-recognised types derived more or 
less directly from one or two contemporary likenesses. 

The Bust of the Poet on his Monument in Holy Trinity 
Church, Stratford-upon-Avon, disfigured as it is with modern 
paint, may yet be considered of the first importance. In aH 
probability it was made from a cast of the face taken after 
death ; it was erected soon after Shakespeare's decease, 
during the lifetime of his relatives and friends, and is known 
to have been the work of one Johnson, a Dutch sculptor and 
" tombe maker" living in London in the reign of James I. 
A fine cast of the Church Bust may be seen in the Hall over 
the Library door. 

The Droeshout Engraving. — On the title page of the 
lirst folio edition of Shakespeare's Plays, published in 1623, is 


a porttail from a copper plate engraved by Martin Droeshoot ; 
and on the opposite page is printed the weD-known address to 
The Reader, commencing : — 

"This fignre, that Ihon here leeth pot 
It WM Cor geotk Shaketpcwc cot: " 
At the time of Shakespeare's death Martin Droeshout was a 
child. He probably engraved the plate when he was about 
twcnt>--one years of age, working £rom a drawing made from 
an oil painting. That painting is believed to have been 
found, and now hangs in the Memorial Picture Gallery 
I see No. 27). 

The Church Bust, the Droeshoot Engraving, and the 
Droeshout Original Portrait, bear a close resemblance to 
one another. 

The other most famous portraits are the Ely Palace, 
belonging to the Birthplace Trustees; The Felton Head, 
belonging to the Baroness Bnrdett-Coatts ; the Chandos 
Portrait, at the National Portrait Gallery ; and the Jansen 
^go called), belonging to the &mily of the Duke of .Somerset 

For the sake of comparison the Committee of the 
Memorial have collected all the available portraits of 
Shakespeare, and it is hoped the owners of portraits of the 
Poet will generously assist the Committee in their endeavour 
to make the Exhibition complete. 

Fresenttd by Mrs. Flower. 

This remarkable portrait — probably the only one with 
contemporary' authority of being a true hkeness of the Poet 
— was add^ to the collection in the Memorial Picture 
Gallery in 1892, on loan from the late Mr. H. C. Clements, of 
Sydenham. Upon the death of the oivner in 1895. it was 
purchased by Mrs. Flower and presented to the Mempria). 
Since the picture became the property of the Governors of the 
Memorial it has been submitted to critical examination, and 
although there are differences of opinion, the weight of 
evidence is strongly in favour of it being an original portrait 
from life. There is high expert authority for saying that the 
painting could not have been taken from the engraving, but 
that the engraving was copied from the painting. The 
portrait is painted upon two planks of old English elm. 





go JOHN MAETIN, 1789-1854. 

Macbeth and the Witches. 
Presented by G. Jennings^ Esq, 

Scene : A cavern. In the middle a boiling cauldron and three witches, A 
show of eight kings; the last with a glass in his hand i Banquo^s ghost 

MACBETH. Thou art too like the spirit of Banquo ; down 1 

Thy crown doth sear mine eye-balls— and thy hair. 
Thou other gold-bound brow, is like the first. 
A third is like the former. Filthy hags ! 
Why do you show me this ? 

Macbeth. Act IV. Scene i. 


John Martin was born at Haydon, near Hexham, in 1789. When 
quite young he painted coats of arms on coaches and was employed to 
decorate china. He came to London in 1806, and exhibited his ficst 
picture in 18 12. After having some disagreement with the members of 
the Royal Academy, he was instrumental in founding the Society of 
British Artists, where his works were regularly exhibited. He painted 
both in oil and water colour, and engraved many of his pictures himself. 
John Martin died at Douglas,' in the Isle of Man, in 1854. 

Dimensions, ift. 6iin. by ift. ; on a panel. 


GEOEGE EOMNEY, 1734-1802. 

The Infant Shakespeare attended by Nature and the 


Presented by H. Graves, Esq. 

This picture was engraved by B. Smith, and published 
in 1799. A copy in chromo-lithography, one of the earliest 
essays in this process, was also made ; a proof impression of 
the lithograph bangs in the gallery. 

To the imagination of Romney we owe some remarkable, 
and a few beautiful Shakespearean pictures ; not the least 
remarkable is this of ** The Infant Shakespeare attended by 
the Passions." The companion picture, ** Shakespeare Nursed 
by Tragedy and Comedy," a more pleasing composition, was 
engraved by B. Smith, and published in 1803. 

Dimensions, ift. iijin. by ift. 6^in.; on a panel. 

See also No. 12. 









1 ■ 












Edwin Booth as " Hamlet." 
Presented by ** The P layers ^^ New York! 

This painting was unveiled by the Hon. George F. Parker, 
on 23rd April, 1896. 

Edwin Booth was born near Baltimore, Maryland, 
November 13th, 1833. ^^^ father, Junius Brutus Bjooth, then 
the leading tragedian of the United States, took the boy with 
him on many of his professional tours, on one occasion he 
appeared at short notice as ** Richard III." instead of his 
father. From that time his career was settled ; he played 
with success in every part of the United States, «first visiting" 
England in 1861-2. Later in 188 1 and in 1882, he played 
with great acceptance at the Lyceum with Mr. (now Sir) 
Henry Irving — their alternation as ** Othello" and ** lago *' 
being, perhaps, the most notable feature of the engagement. 

As a man he was always thoughtful, quiet, shy, reserved, 
and, at times, almost gloomy ; but lovable to his friends, and 
family, and greatly attached to all who came near him. 
Dimensions, 2ft. 5iin. by ift. 8in. ; on canvas. 

PAUL VAN SOMEE, 1576-1621. 

Portrait of Henry Wriothesley, 2nd Earl of 


Presented by Henry Graves y Esq. 

This fine portrait of Shakespeare's friend and patron, to 
whom he dedicated ** Venus and Adonis '* and *'The Rape of 
Lucrece," next to the portrait of the poet himself, may be 
counted the most precious treasure contained in the Memorial 
Picture Gallery. Henry Wriothesley was born on the 6th of 
October, 1573. His bounty, and the encouragement of the 
poet have immortalised a name which otherwise might have 
been forgotten ; even his association with the Earl of Essex 
in the treasonable affair of 1601, and his subsequent irh- 
prisonment in the Tower will scarcely be rerrtembered, though 
his patronage of Shakespeare and Florio are notorious. He 
died at Bergen-op-Zoom, loth November, 1624. That he was 
the youth to whom Shakespeare addressed his sonnets is the 

belief of some Shakespeareans. 

Paul Van Somer, the painter of this portrait, was born at Antwerp about 
the year 1576, and resided chiefly in Holland with his brother Bernard until 
1604. In that year he came to England, and painted the portrait of the 
King and many of the great people at Court, including William Earl of 
Pembroke and Lord Bacon. He died in London in 1621. 

Dimensions,' 6ft. 2^in. by 4ft. 2in. ; on canvas. 









Kemble retired from the stage, and died at Lausanne in 1830. 

" In this portrait the actor is shown as he appeared in private 

life without any theatrical disguise. The painting is an 

excellent example of Lawrence's delicate and refined manner. 

Other portraits of Kemble, see Nos. 23, 26. 

Dimensions, aft. 5in. by ift. iiiin. 

B. E. DELL. 
Titania's Bower. 

Presented by P. AUfrey, Esq. 


Portrait of Andrew Cherry. 
Presented by John (JCotinor, Esq. • 

Andrew Cherry, born about the year 176a, at Limerick, 
was a comedian, and the author of several plays. Charles 
Mathews said of him " He is an extremely little man, I think 
less than Quick, with' a droll face. He is one of the most 
humorous men in the world off the stage, and a very good 
actor on it." He wrote plays and some well-known songs, 
"The Bay of Biscay," "Tom Moody," "The Dear Little 
Shamrock," &c. 

Dimensions, ift. loin. by tft. sJin. ; on canvas. 



No. S3. GADsnru. and teie Carriers, by r. Siiirke. 



• I 





No. 62, David Uabrick, By R, E. P 





Empress took a fancy to her, and by-and-by sent her to England 
with letters of introduction to Lady Burlington. She made her 
debut at the Opera House when twenty-one years old, and the 
King came to do her honour. Seeing Garrick play one 
night, Violette fell in love with him, and he with her. In 
answer to a friend who condoled with her. upon the death of 
her husband, the widow said, ** He never was a husband to 
'me.'* The lady being surprised, Mrs. Garrick added, *'for 
during the thirty years we were married he always remained 
my lover,'' Mrs. Garrick died on October i6th, 1822, in the 
qgth year of her age. 

This picture is believed to have been painted in Paris, 
cither in 1749 or more probably in 1763, on the occasion of 
the second visit of Mr. and Mrs. Garrick to the French 

Dimensions, 3ft. 2 Jin. by 2ft. 4in. ; on canvas. 

^2 ROBERT EDGE PINE, 17421790. 

Portrait of David Garrick, 1716-1779. 

Presented by Edgar Flower^ Esq, 

David Garrick, the most famous actor of the i8th 
century, was the son of an officer in the English Army 
descended from a Huguenot family ; his mother was the 
daughter of a Lichfield parson of Irish extraction ; he was 
born at Hereford on February 19th, 17 16, and educated at 
Lichfield Grammar School. Afterwards David and his 
brother George became, the pupils of Samuel Johnson, at 
Edial, near Lichfield. The doctor was then writing hig 
tragedy of ** Irene," and when it was finished he and his pupil 
set out for London, arriving in the big city with only a few 
halfpence in their pockets. After trying the profession of a 
lawyer and the business of a wine merchant, Garrick 
adopted the calling of an actor. In 1741 he appeared at the 
Goodman's Fields Theatre as *' Richard III." The powers of 
Garrick were universal, he excelled equally in tragedy, and 
comedy, or the broadest farce. In 1769, when his reputation 
was universal, Garrick determined to celebrate a Shakespeare 
Jubilee at Stratford-upon-Avon. An enormous rotunda was 
erected in the Bankcroft by the river, near the spot where the 
Memorial Theatre now stands. Ten years later (1779) 
Garrick died at the age of fifty-three years, and was accorded 
a magnificent funeral in Westminster Abbey. 

R. £. Pine, who painted this excellent portrait of Garrick, was the 
son of John Pine the engraver, and was born in London in 1742. He 




Miss Ada Rehan as " Katharina." 

Presented by Augustin Daly, Esq, 

This fine portrait of the great American actress was 
presented to the Memorial in i8S8 by Mr. Daly, whose great 
Shakespearean revivals are equally well known in England 
and America. 

Dimensions, 7ft. lo^in. by 3ft. gin. ; on canvas. 

gy SIE JOHN E. MILLAIS, P.E.A., 18291896. 
Portrait of The Lord Ronald Gower (Artist & Author)^ 

Lord Ronald Gower, the author i.nd donor of the Monument ol 
Shakespeare in the garden of the Memorial, sat for this portrait in 1S77. 
His Lordship IB one ot the Governors of the Memorial. 

Dimensions, oval, 2i|in. by i7iin. ; on canvas. 


Presented by Evan Marlelt Botldy, Esq., F.R.C.S. 

^Q^ HF.NBY WYATT, 1794-1840. 

Portrait of Sami;el Taylor Coleridge. 

Samuel Taylor Coleridge, poet, philosopher and critic, 
was born at Otlery, St. Mary, in 1772. In earlv life he 
preached in the Unitarian Chapels around Bristol. This 
portrait appears to have been painted at that period, Awl to 
represent Coleridge as a young man. 

In 1S11-12 the poet delivered his famous course of 
Lectures on Shakei^peare and Milton. He 'died on the 23rd 

July, 1834. 

Dimensions, 23J inches by 19J Inches ; on canvas. 


Attributed to WILLIA.M ETTY, R.A., 


Head of a Bacchante. - 

Presented by E. Marlett Baddy, Esq., E.R.C.S. 

William Etty was a native of York, ani] studied in the schools of the 
Royal "Academy, London ; for a short time he was a pupil of Lawrence. 
His figure painting is excellent, but florid. 

Dimensions, lol inches by i6i inches; on canvas. 



Portrait of a Spanish Lady. 

Presented by E. Marlctt Boddy, Esq., F.R.C.S. 

Dimensions, 31J inches by 25 inches; on canvas. 



Attributed to HENEY ^VSTYATT. 

Portrait of Charles Kemble. 

Presented by E, Marlett Boddy, Esq., F.R.C.S. 

Charles Kemble, born at Brecon in 1775 ; a good [actor^ 
excelling chiefly in subordinate characters. He was the father 
of Francis Anne ** Fanny" Kemble, who made her debut at 
Covent Garden in 1829, when her ** Juliet" created a great 
sensation. He died in 1854. 

Dimensions, 24J inches by igj inches ; on canvas. 





Portrait of a Boy with a Dog. 
Presented by E. Marlett Boddy, Esq.y F,R.C.S. 

The portrait now under consideration is believed to 
represent one of the children of Charles I. 

Born at Antwerp in 1599, Anthony Vandyck enjoyed the privilege of 
being one of Ruben^s pupils, and in 16 19, when twenty years old, left 
Antwerp to travel in Italy, where he earned a brilliant reputation. 

The encouragement given by Charles I. to the fine arts induced 
Vandyck to visit England in 1629, and he remained in this countr almost 
continually until his death in 1641. Enjoying the patronage of the King, 
Vandyck painted many portraits of members of the Royal Family, and 
of the nobility. 

Dimensions, 27^ inches by 24J inches ; on canvas. 





SIR PETER LELY, 1618-1680. 
Portrait of Nell Gwynn. 


** Pretty, Witty Nell Gwynn " (1650-1687), was one of the 
first women who took part in performances on the English 
stage, it being then usual for boys, or young men, to appear 
in female characters. She subsequently became the mistress 
of Charles II., and the mother of the first Duke of St. Albans. 



Sir Peter Lely was born in the Netherlands, and settled in London 
in 1641 (the year of Vandyck's death). He became court painter to 
Charles II., by whom he was knighted. Some of his best subjects were 
the court beauties of the day, who smile from his canvas, to a regulation 
pattern. There is, however, a certain charm about all Lely *s work which 
elevates it above that of most of his contemporaries. 

Dimensions, 28^ inches by 23^ inches ; on canvas. 


Attributed to 'WILLIAM HOGARTH 


Portrait of Alexander Pope. 

Presented by E. Marlett Boddy Esq., F.R.C.S. 


Alexander Pope (1688- 1744) edited one of the early 
editions of Shakespeare's plays (1723), and although he was 
not well fitted for the task, earned no little reputation -by it ; 
but his fame rests rather upon his abilities as a poet than as 
an editor of other men's works. 

William Hogarth, who is best known by his wonderful engravings, 
was bom in London in 1697. ^^ painted a few portraits, some of which 
approach caricatures as does his head of Pope, evidently no flattering 

Dimensions, iii inches by 8^ inches; on canvas. 

11^ JOHN HOPPNEE, R.A., 1758-1810. 

Portrait of Sir Walter Scott when a Boy. 
Presented by E,. Marlett Boddy, Esq,, F.R.CS, 

John Hoppner, the rival of Lawrence as a portrait painter, was born 
at Whitechapel, of German parents. He was particularly succes&ful as a 
painter of children's portraits, claiming for himself purity of look as well 
as purity of style. 

Dimensions, 16J inches by 14^ inches ; on canvas. 


11 B Attributed to JSAN-BAPTISTB 
■ ' ^ 1725-1805. 

Portrait of a Musician. 


I- f 




Presented by E. Marlett Boddy^ Esq.y F.R,C,S, 

Greuze excelled in delicacy and grace ; he is seen at his best in his 
portraits oi girls, charming compositions painted with marvellous skill. 
He was one of the first of the French school to reject the artificiality and 
frivolity of the time, and to return to the beauties of nature unadorned. 

Dimensions, i6^ inches by 12^^ inches; on canvas. 

GEORGE ROMNET, 1734-1802- 

Portrait of Percy Bysshe Shelley when a Boy. 

The history of this striking portrait is obscure ; but it is 
evident that it is a powerful study of the poet when quite 

Dimensions, 13^ inches by 9 J inches ; on canvas. 





E.A., 1727-1788. 

Portrait of Prince Charles Edward Stuart. 


Presented by E. Marlett Boddy^ Esq., F,R.C,S. 

Of all the portraits of " Bonny Prince Charlie " this is 
perhaps the most satisfactory, representing the young prince 
at his best. He was born at Rome in 1720, and died in that 
city in 1788. 

The donor of this portrait discovered it hidden away and 
covered with soot in the chimney corner of a cottage in 

Thomas Gainsborough, a native of Sudbury, removed to Bath in 1760, 
and in 1774 to London. As a portrait painter he probably excels all other 
masters of the English school. 

Dimensions, 18 inches by 14 inches ; on canvas. 


Portrait of Oliver Cromwell, 

Presented by E. Marlett Boddy, Esq., F.R.C.S. 

A powerfully painted head of the Protector, probably an 
early copy of one of the best contemporary portraits. 

Dimensiofia, i6| inches by t2| inches; on panel. 


Portrait of Lord Byron. 

Chalk Drawing done at Harrow, 1801. 
Presented by E. Marlett Boddy. Esq. F.R.C.S. 







Portrait of Charles Edward Flower, J.P., C.C. 

This portrait of the, founder of the Shakespeare Memorial 
was presented by his numerous friends and admirers in token 
of high appreciation of his valuable services to the Boroug'h of 
Stratford-upon-Avon, 1891. 

Dimensions, 4 ft. i^ in. by 3 ft. 3 in. ; on canvas. 


Portrait of Henry Graves. 

Presented in 1898 by his son, Algernon Graves ^ F.S.A* 

Mr. Graves was one of the first Governors of the 
Shakespeare Memorial, and a great benefactor to the Picture 

Dimensions, ci ft. 5^ in. by 2 ft. o| in. ; on canvas. 


Wood Carving. Sword Stand, with Arms of the 

City of London. 

Presented by G, E. Marlett Boddy, Esq,, F.R.C.S. 



OZIAS HUMPHBETS, 1742-1810. 

Portrait of Roger Kemble, 1721-1802. 

Miniature on Ivory. From the Blakiston Collection, X871. 

Father of John Philip Kemble, Charles Kemble, and of 
Sarah Kemble (Mrs. Siddons). 





Portrait of J. P. Kehble, in Character. 

Miniature on Canvas. 

Presented by Mrs. F. Bull 


Portrait of David Garrick. 

A Chalk Drawing, representing Garrick in powdered wig, 
tied with a black ribbon, a white coat, and a blue waistcoat. 



Portrait of F. Hawley, as the " Duke of Buckingham," 
IN " Richard III." 

Presented by Mrs. Hawley. 

Mr. Hawley held office as Librarian of the Shakespeare 
Memorial from i886 to 1S89. He was a distinguished actor, 
playing under the name of " Haywell," a ripe scholar, and a 
kindly gentleman. 



Portrait of G. F. Cooke. 

Miniature on Ivory. 

Presented by Mr. Edgar i-huier, 1891. 






Portrait of Shakespeare. 

Oval Miniature on Copper. 

Presented by Mr. T. Kite. 



Reputed Portrait of Shakespeare.* 

Circular Miniature on Copper. 
Presented by Mr, Henry Graves, 



Reputed Portrait of Shakespeare, Contemporary, 
Dated 1591. Monogram W. S. S. (?) 27. 

Miniature on Copper. 

Presented by the Lord Ronald Sutherland Gower, 

This portrait is certainly contemporary, and both date 
and inscription are in favour of it being a likeness of the Poet 
when twenty-seven years of age. 

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